Help Wanted: Harmonic Analysis of Transcriptions

GadjoTheo

Okay! So what makes F7 a passing chord is that it's the V to Bb, so you can play a Bb phrase over both the V and the I?

Thanks, littlemark!

GadjoTheo

Thanks again, Richter 4208!

On bar 47, why can Stochelo sub that Eb7 for Ab6? I know they have several notes in common, and Eb7 is the V. Is there a reason that it works here?

littlemark

https://www.djangobooks.com/forum/discussion/comment/107730#Comment_107730

In m.47 he is outlining the Ab7 chord as you said then he is anticipating the D7 in the next bar. Because they are both dominant sounds/feelings.

As I mentioned earlier, he's not really thinking about scales. He's thinking about chord shapes. Certainly not modes.

littlemark

https://www.djangobooks.com/forum/discussion/comment/107732#Comment_107732

I think you misunderstood what I meant by passing chords. You thought the F7 was leading to the Bb. Which it does, but it's a bigger picture.

The first 4 bars of the piece can all be g minor. You can get rid of the D7 (or not) but the F7 the Bb the Bdim are all just passing chords leading to the c minor in the next bar. They are harmonizing a walk up bass line. G A Bb B land on c minor!

You could also substitute the Bb and Bdim for a G7. Which will lead you to the C minor.

In m.67 over the f7 he is playing a gminor6 arpeggio. You are seeing it as a Bb6. Which it is. But Django is likely seeing a gmin6 for the whole bar.

I hope that makes sense.

Try not to always chase the chord changes. It will sound correct but not always like music ( as Denis says in his recent vid)

GadjoTheo

Thanks a ton, Littlemark! That's really helpful!